"Some Rap Songs," the latest LP from Earl Sweatshirt, shows the rap prodigy venturing to the furthest corners of the genre, creating an experimental, impactful album.
Ghostface Killah's latest release is "Ghost Files," a remix of his 2018 work "The Lost Tapes."
“Mary Queen of Scots” was able to look past the labels given by history and create a more nuanced representation of the lives of two immensely powerful queens.
Although “The Grinch” is sure to delight modern youth, it wastes acclaimed actors in a paltry rendition of a holiday classic.
Soraya Chemaly visited New Dominion Bookshop Dec. 5 to discuss her new book "Rage Becomes Her: The Power of Women's Anger."
6ix9ine’s shortcomings as an artist are brought to the surface all throughout “DUMMY BOY.”
To wrap up the semester and the calendar year, Forgotten Films columnist Mark Felice presents his picks for the 2018 movies that should be forgotten and those that deserve remembering.
“Creed II” is much less hesitant than the first “Creed” to directly lift classic Rocky musical motifs.
"I Am Not A Witch" is an engaging, well-directed film which is appealing even without considering the deeper themes lurking in its subtext.
In “If Beale Street Could Talk,” Jenkins honors the traditions of Baldwin in purest form, putting ugly truth on screen with pure beauty and celebrating the resilience of empathy and love.
Steve McQueen's heist thriller "Widows" shows a gripping tale of four women, led by the excellent Viola Davis, falling into a life of crime due circumstances beyond their control.
Though it may not be able to make audiences cry, "Ramen Shop" will at least make their stomachs growl.
"Parenthood," the 1989 dramedy is overshadowed by the TV show of the same name, but the original source is just as worthy of praise.
If you missed when the actual Fleetwood Mac come to town in 2015, Rumours ATL was an effective consolation — but still, hold out for their next tour.
Depicting mental illness in media is always an ambitious task, but by portraying the last years of tortured artist Vincent van Gogh in "At Eternity's Gate," Willem Dafoe gives the subject the necessary nuance and respect.
There's a sweet simplicity in "Take Good Care," The Revivalists' fourth studio album, an impressive feat considering the variety of instruments and influences packed into fourteen songs.
Stephen Loveridge, director of the film that showed at the Virginia Film Festival, creates an account as vivid and interfering as M.I.A. herself.
This macabre humor typifies director Peter Hedges’ latest film, which screened at the Virginia Film Festival.
When going to see "Nobody's Fool," theaters across the nation will not be dead silent, but they will not be erupting in rapturous laughter either.
A stunning, contemplative piece on sports, art and the human will, “Free Solo” is innovation on the big screen.
